Multi-genre tours have moved far beyond the concept of being a fad in the rock scene, and have progressed to the level of being an aspect that's expected of a majority of bands who announce a touring lineup. Memphis May Fire & Yellowcard. All Time Low & Pierce The Veil. Bands like these aren't that far apart, but they're just different enough that the idea of touring together sounds crazy. By the time the announcement for The Wonder Years' spring headlining tour was announced with post-hardcore adrenaline-shot-to-the-heart Letlive. as main support, fans of both artists appeared to be completely ecstatic. The band's stop at The Catalyst in Santa Cruz, CA this past March proved that tours like this are a splendid idea, and should be encouraged more often.

Microwave and Tiny Moving Parts, two relatively new artists within the punk scene, kicked off the night. Their sets were merely warm-ups for the workout that is Letlive. Once the five-piece took the stage, Jason Butler (vocalist) and co. launched straight into ridiculously high-powered "Banshee (Ghost Frame), the first track from 2013's The Blackest Beautiful (their most critically acclaimed and successful album to date). The energy stayed consistent throughout the duration of their nearly forty-five minute set. "My doctor told me not to tour with shingles, but I didn't want to let you guys down," remarked a now hairless, beardless Jason Butler to the crowd halfway through the show, with a smile on his face. His illness didn't stop him from plunging straight into the crowd and running in a full circle around the crowd as he screamed "27 Club".

The room was loosened up and ready for The Wonder Years, who played a powerful, emotionally-charged brand of pop-punk for an hour and a half to close the evening on the right now. A bulk of the band's set was comprised of material from No Closer To Heaven, the band's fourth studio album, and their most ambitious record to date. Still, old favorites weren't neglected, as "Local Man Ruins Everything", "Came Out Swinging" (both from Suburbia I've Given You All and Now I'm Nothing), and "Washington Square Park" (from The Upsides) made for some of the loudest sing-alongs of the entire evening. The pop-punk six-pieced concluded a sixteen-song set with a brilliantly-executed version of "Stained Glass Ceilings" from Heaven, leaving the stage and a room full of pop-punk fans satisfied.